'Ad Astra' (2019)

82/100

Strikingly beautiful and impeccably acted: an intriguing if slightly underdeveloped sci-fi tale

James Gray's touching and wondrous sci-fi exploration of paternal estrangement and human exploration can, surprisingly, be quite accurately pitched as Apocalypse Now in space. Instead of Martin Sheen's nihilistic odyssey up the Mekong River to terminate Marlon Brando's deific defector, however, Ad Astra chronicles the attempts of Brad Pitt's emotionally reserved astronaut to locate his long-lost father near Neptune. Fewer Viet Cong in space perhaps, but oddly enough: more monkeys.

This film is constructed deliberately and effectively around Pitt's impressive performance. He imbues protagonist Roy with a quiet determination tinged by unassailable sadness, his career successes marred by the failures and loss that have plagued his personal life. His weary voiceover, ever-present and wholly necessary for such an intensely personal character study, guides the viewer through the troubled depths of his mind as the intriguing story guides us from Earth to Moon to Mars and on through the stunning depths of the incomprehensibly vast Solar System.

It is undeniably a one-man show: necessary, certainly, for its desired depiction of isolation and abandonment, but the supporting characters (save for a grizzled Tommy Lee Jones as Roy's distant father) are rather criminally underdeveloped. As Roy's estranged wife, it is understandable that Liv Tyler would not have many lines, and an impressive amount of emotion is still conveyed with no dialogue. However, almost no effort is put into developing the pair's married relationship during flashbacks. Donald Sutherland's glorified cameo also contributes almost nothing to the story, yet ultimately these considerations are minor when contrasted with the masterful focus on Pitt's Roy, and the terrific atmosphere of isolation thus created. The cinematography of Christopher Nolan's new protege Hoyte van Hoytema is central to crafting this atmosphere. Pitt is framed in near-constant solitude, often minute and hopeless next to the bleak emptiness of space. 

There are also some truly breathtaking shots which will surely grace laptop wallpapers for years to come - especially during the scenes on the aptly-named Red Planet, where the colour palette is dominated by eye-catching red and orange. Meanwhile, in addition to the impeccable art direction of the outer space sequences (the underground Martian lake swimming scene and graceful space walks are simply majestic sights), brief if thrilling bursts of action punctuate the well-judged if decidedly contemplative pacing. For example, Gray expertly ratchets up Alien-like tension when Roy is exploring a mysteriously empty ship that has emitted a distress call, yet also manages to fit in going all Star Wars by delivering an intense moon-buggy chase complete with laser guns and explosions.

The influences of recent sci-fi greats that this movie pays homage to are clear, and it combines them effortlessly to emerge as its own well-defined entity. The intense sequences of outer space terror are very Gravity, and the scientific accuracy and deep personal connection to the protagonist are reminiscent of The Martian, whilst the wistful curiosity about may be out there in the limitless potential of the infinite universe is all Interstellar. Never does the film feel in any way derivative, though: its breathtaking cinematography, striking imagery, and Max Richter's beautifully ethereal score create some of the picture's most memorable moments. The worryingly near-future depiction of the base on the Moon, for instance, is particularly shrewd: a heavily commercialised airport in a war zone beset by roving gangs of space pirates.

It's the final quarter or so that just lets the overall film down. This is difficult to discuss without giving away the ending, but essentially the story's message becomes a little muddled and ends up disappointingly anti-climactic. It's still typically rousing, and the technical elements remain superb, but I can't help feeling that the plot deserved a more well-rounded climax. Perhaps it's just relatively low on substance compared with the impeccable attention to detail for everything that came before, but it's a frustrating note to end on for what would otherwise have been a masterfully complete film. Still, it hardly ruins what is undeniably a dazzling piece of sci-fi.

Pitt deserves all the plaudits for anchoring this riveting, adventurously spirited tale told with grace, emotional depth, and astounding talent ─ even if the ending doesn't quite land. 82/100